The artistic as creatively bodily being-with-oneself in the world

Images belong to man as well as to human development in general. Whether cave drawings in Lascaux, hieroglyphs in ancient Egypt till to the primitive ornaments and shapes of bodies, products and tools: It was the path from image to writing and from there to mathematical-technical formalization and mediatization, which not only the process of civilization accompanied, but probably even justified.

Located in Niklasdorf in the middle of an alpine mountain landscape, the studio of the artist Georg Brandner is something like a “laboratory” of human existence and essential forces.

Insofar it creates a space for the development of highly intimate as well as generally human creative forces.

A place of being alone with oneself and thus of being able to be one with oneself. In this sense, the studio is a monastery, an ashram, an experimental space, a workshop, a homestead, even the original home of modeling, experimenting, composing … A place for the discovery of sensitivity, imagination and creative power.

The artist Georg Brandner – isn`t he, like all the vital creators of beautiful pictorial worlds, a researcher, inventor and player at the same time? And this also a little bit beyond the re-production as (re) definition of ART in the sense of art-operation and art history?

And this is especially peculiar to the “creatures” of Georg Brandner: they emanate power and intelligence from deep inside, are the re-presence of a restless appearing, in the organizing spirit, which is physically exhausted through images, objects, installations, indeed seems to pour over his whole life environment: The ‘Holy Spirit’ – still somehow present in the Catholic mountain valley – is at Georg Brandner present spirit, is alertness, creaturely creativity – even bodily mind. And that is precisely what the works of Georg Brandner emit!

Here is someone who really lives, knows what to do with himself and the world, exploring the worlds in and around them and thereby (re) modeling them, reinventing them.

So no one who simply uses the given , consumes and uses more or less in the service of egomaniac attention-seeking.

Painting is in Georg Brandner plastic (self-) invention and (self-) modeling, the game with the given gifts  as potentials of perception and ‘making-believe’!

It is true – Georg Brandner moves not only in terms of materials and techniques used, but also – seemingly weightless – in the great cosmos of the painterly means of expression of modernity.

In this sense, he is something of a living generator of previous pictorial inventions and attitudes. He plays intuitively as well as consciously with the gestural, color, drawing, constructive as well as transforming expressive potential, without repeating himself in formalities.

He ‘speaks’ unmistakably in his own visual language, seemingly effortlessly and unintentionally moving between the fields of contemporary and archaic visual arts.

He implies model-like a fundamental dimension of human existence:

The human being is bodily always singular autonomous and at the same time universal with the world, the space or time connected to the other or the other on all sides.

As in all of his paintings and glass sculptures, the visual art of Georg Brandner is a happening in a wide-open universe of materials, instruments and techniques to inventive glass fabrication in a more or less predictable glass kiln and a unique faculty for sensitive-intellectual synopsis ,

This cosmos of studied and applied possibilities can only be held together by the bodily, even gestural truth of a thoroughbred artist.

The worldwalker, the collector of impressions in various cultural, climatic and time zones is at the same time always at home, down-to-earth, therefore home-connected sedentary. And this nomadic sedentary differs precisely from the chronically sedentary, who seek to confirm the same ‘inside’ in the same ever ‘outside’ – no matter where they are going on holiday or business trips.

Even in the view of his international success, Georg Brandner yet remained true to himself. He is authentic from the ground up – to use this buzzword.

He remains in the process of finding, tasting, constantly re-starting, crossing, surrendering … This is also based on decades of experience in dealing with materials, design principles and, not least, one’s own abilities, including the knowledge of oneself and the world ,

Chaos is without order, spontaneity, without the ability for form and meaning not possible. Freedom also begins in Georg Brandner’s work precisely where it is freedom over the availability of means, potential, scope and motivations. Freedom presupposes inner human wealth, but also external spaces for development.

Georg Brandner has created this even previously mentioned with his wonderful-looking studio in Niklasdorf and his worldwide relationships with people, landscapes and cultures.

We can be curious what will happen next

Klaus Nicolai